1. SOUND MIXING + SONGS SOUND & MUSIC

2. SOUND MIXING - The final sound mix, called the rerecording mix, combines and balances separate dialogue, sound effects and music tracks into one final soundtrack. - The rerecording mixer sets the level of each sound element to highlight the most important sounds. - Generally, the mixer emphasizes dialogue and key sound effects while softening background noises like car engines or street sounds, unless the story demands that dialogue be difficult to hear, as in a battle scene.

4. SOUND MIXING - Contrast between sound and image or between sound and silence is effective to build tension or to deliver more information. - Loud sound effects are more jarring if they are followed or preceded by soft sounds or by silence. - Because the film viewer cannot hear everything that is seen on the screen, sound mixers must direct the viewer’s attention to the important elements.

5. SOUND MIXING - One way to do this is by using sound as it might be heard by a character in the film. This is called “point of audition.” - At one point in the D-Day invasion scene in Saving Private Ryan, the sound-track is muffled because we are hearing sound from the perspective of a character temporarily deafened by the bombing. - Just like a movie camera, sound can move the viewer from a “long-shot” to a “close-up.” By fading noisy background chatter in a crowded room, a filmmaker can direct the audience’s attention to an intimate conversation between two people.

6. SOUND MIXING - Movie sound is usually associated with the people and objects onscreen. When the film shows a woman walking a dog down a busy street, the audience hears her voice, the jingle of the dog’s leash, and the roar of the passing cars. This is called “source sound.” Narration, voiceovers and musical scores are the most common examples of non-source sound. - Other offscreen sounds can alert the viewer to a change in scene, mood or character. - Overlapping sound can connect unrelated settings, places or times. - Sound differs depending on a scene’s mood, location, historical period and time of day.

7. SONGS - Instrumental music is only part of the composer’s tool kit. Songs are often employed to emphasize or comment on the dramatic action in non-musical films. - Whether a song is heard on the soundtrack or performed live in the film, the lyrics may express or emphasize the thoughts or emotions of the characters. - “When somebody loved me…”

8. - By using existing popular songs, the composer takes advantage of the audience’s prior associations with the music. - Well-known songs can establish an historical period as in Pleasantville and O Brother Where Art Thou? or evoke a foreign country as in Frida. - Songs are so evocative that Lawrence Kasdan, the director of The Big Chill (1983), played 1960s music on the set to help his actors get into the mood of that period.

9. SONGS - When songs completely or principally comprise the music, as in The Big Chill or the 1973 film American Graffiti, it is called a compilation song score. - Original songs, written specifically for a film, such as the Oscar-winning songs “The Hands That Built America” from the film Gangs of New York and “Moon River,” from Breakfast at Tiffany’s, may either highlight a single dramatic or emotional moment or make a statement about the entire film. - The popularity of theme songs like “My Heart Will Go On,” the Oscar winning song from Titanic, is often exploited to promote the film.

10. COMPILATION SONG SCORE

11. MUSICALS - In musicals, songs function as a type of dialogue. The music and especially the lyrics of the songs are closely interwoven with the script, whether written expressly for the musical as in Chicago (2002) and the 1991 animated film Beauty and the Beast, or when historical or contemporary popular songs are used, as in Singin’ in the Rain and the 2001 film Moulin Rouge. - West Side Story: - https://www.youtube.com/watch?v=RgHtBxOs4qw https://www.youtube.com/watch?v=RgHtBxOs4qw - Finding the right words and melodies to fit the characters and the story is the job of the songwriters, who look for moments in the script that call for a song or for a line of dialogue to inspire the first words of a song.

12. MUSICALS - Characters in musicals often break into song when they experience strong feelings they cannot contain. - The makers of Chicago, worried that contemporary audiences would find this improbable, presented the musical numbers as being in the imagination of the main character, Roxie Hart.

13. - Unlike typical film scores, which are usually composed after the film has finished shooting, songs for musicals are written and recorded before production begins. - Then, during filming, the actors lip-sync to the pre- recorded numbers. - Moulin Rouge exploits this practice to make the audience aware that the film they are watching is a work of fiction, as for example, when a character seems to be inventing the song “The Sound of Music” although the audience is fully aware that the song was composed years after the period of the film and years before the movie they are watching.

14. LES MISERABLES -Musical numbers shot on set. (Sound mixing) -https://www.youtube.com/watch?v=0obQ_a6Cm-chttps://www.youtube.com/watch?v=0obQ_a6Cm-c

15. MAY IT BE http://www.youtube.com/watch?v=i7MLT4MmAK8